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Listen: rather ironically, Dylan's ex lover Joan Baez covering Sad Eyed Lady. The musicians were all expecting a three minute song, but in the studio, Dylan just kept on with new verses. It’s a list song, in 6/8 waltz arrangement with Dylan on acoustic guitar and harmonica. Images galore peg it as an ode to his wife Sara Lownds. Obviously 5 Believers is called a ‘roadhouse blues’ number and Visions Of Johanna is in a different league, about being stranded.īut it’s the epic Sad-Eyed Lady Of The Lowlands, over 11 minutes of surreal poetry about the female figure that sets it apart. Most Likely You Go Your Way (And I’ll Go Mine) is a blues beat about parting lovers, and Absolutely Sweet Marie is a Memphis- influenced love song of sorts.
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Leopard-Skin Pill Box Hat sees Dylan in sarcastic, jealous put-down form about a former lover.Ĥth Time Around and I Want You are about love. One Of Us Must Know (Sooner Or Later), is a song of ended love, as is the slow-blues Temporary Like Achilles. Pledging My Time is more Chicago blues, defined by Robbie Robertson’s guitar lead. Stuck Inside Of Mobile With The Memphis Blues Again and Rainy Day Women see Dylan in fun form, saying ‘relax’. There are a lot of love (ending) songs, and critically acclaimed lyrics that make Blonde On Blonde an essential. The recording of this started in New York, but then switched to Nashville and its session musicians and the predecessors of The Band came on board allowing Dylan to take blues and folk-rock into yet another direction. Listen: My Chemical Romance covering Desolation Row Dylan took 16 takes to record Just Like Tom Thumb’s Blues, with its nightmares, literary references and guitar, drums and two pianos. Queen Jane Approximately is about falling from grace. It Takes A Lot to Laugh, It Takes A Train to Cry is like much Dylan material, reinvented with two versions, one guitar-driven, the second slow blues.įrom A Buick 6 is shaped from blues riffs Ballad Of A Thin Man could be politics again, hitting the counterculture of the 1960s. Tombstone Blues parades historical characters with veiled hints at Vietnam. The title track is led by Mike Bloomfield’s ‘razor slash slide guitar’ and shows the highway to be wide, with room for endless drifting people. It is variously about revenge on the phoney, and compassion. Like A Rolling Stone was revolutionary for its electric guitar licks, organ chords and Dylan’s unique vocals. The album picks up the blues tradition of road songs, with the actual 1700 mile highway linking his own childhood and youth significances with American cultural history. Biblical, literary and real characters combine with allegorical poetry accompanied by US south-western and Nashville-style guitar. It’s all electric apart from the 11 minute acoustic Desolation Row. This is essential because it’s blues-rooted rock and poetry. Highway 61 Revisited (1965, Columbia 9189) Listen (and watch): the famous card sequence of Subterranean Homesick Blues It’s Alright Ma (I’m Only Bleeding) is arguably, back to politics. Bob Dylan’s 115th Dream is surreal electric blues Gates Of Eden is about lost innocence, and Mr Tambourine Man, about a giant Turkish tambourine (or a drug dealer, depending on interpretation), is acoustic psychedelia. She Belongs to Me, Love Minus Zero/No Limit, Outlaw Blues, On the Road Again and It’s All Over Now, Baby Blue speak of love’s paradoxes and bohemian lifestyles. Maggie’s Farm could be about slavery, and/or the protest movement.
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Tim Riley of the US National Public Radio said: "snagged by a sour, pinched guitar riff, the song has an acerbic tinge". Folk purists were up in arms when Dylan went electric.Īt once, he distanced himself from folk and protest, yet Subterranean Homesick Blues is still anti-establishment.
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If anything he’d done in his life to date was controversial, this topped it. Bringing It All Back Home (1965, Columbia 9128)īreaking more new ground, this has an electric side with a rock ‘n’ roll band, and an acoustic side.